Links

Thursday, December 25, 2014

This is a video of the Osaka "Number Nine Chorus" of 10,000 singers who perform "Ode to Joy" every December. The soloists and orchestra are professionals; however the rest are singers from the community.

The Japanese love of "Ode to Joy," the final movement of Beethoven's Ninth Symphony, began during the First World War, when German prisoners of war performed the Ninth Symphony for the first time in Japan in 1918.

In Europe, exactly one hundred years ago, German, French, and British soldiers engaged in a spontaneous holiday ceasefire, emerging from the trenches to exchange food, drink, and even play soccer, sharing a brief moment of humanity during the brutality of war.

The Japanese nickname for the uplifting movement — "Daiku" ("Number 9") — alludes to Article 9, the Japanese Constitution's Peace Clause which outlaws war as a means of conflict resolution. Beethoven's lyrics are from a poem celebrating human unity by Frederick Schiller. The 19th-century century German philosopher was preoccupied by the quest for freedom and human rights. Like many of his era (which spanned the American Revolution), he championed political ideals based not on coercion and tyrannical brute force, but instead by reason, goodwill, dialogue, and democratic process.

Worldwide, "Ode to Joy" has long been considered a peace anthem, a song of resistance to not just war, but also state repression. Chilean democracy demonstrators sang the song during PInochet's dictatorship. Chinese protesters sang it during the march on Tiananmen Square. This year, the music and lyrics are even more meaningful to the Japanese and Okinawan supporters of democracy and Article 9, the Japanese Constitution's Peace Clause.

...Brother love binds man to man

Ever singing march we onward

Victors in the midst of strife

Joyful music lifts us onward

In the triumph song of life...

Human rights attorney Scott Horton tells us that Beethoven was drawn to Schiller's writings because the composer longed for liberty, however omitted the "deeper, more political charge" of the final stanzas of "Ode to Joy" to veil his challenge to the repressive Hapsburg regime from which he received patronage.

...the work is radical and blatantly political in its orientation–it envisions a world without monarchs at a time when the distant colonies of North America alone offered the alternative. It imagines a world whose nations live in peace with one another, embracing the dignity of their species as a fundamental principle, and democracy as the central chord of their organization. Its long appeal to Beethoven lay in just this intensely subversive, revolutionary core. To start with, as Leonard Bernstein reminded his audiences, the poem was originally an “Ode to Freedom” and the word “Joy” (Freude instead of Freiheit, added to the third pillar, Freundschaft [Friendship] came as a substitute for the more overtly political theme...

Beethoven reckoned, of course, that his audience knew the whole text, just as he knew it, by heart. He was by then a crotchety old man, Beethoven, but he knew the power of a dream, and he inspired millions with it, to the chagrin of his Hapsburg sponsors.

Schiller’s words are perfectly fused with Beethoven’s music. It may indeed be the most successful marriage in the whole shared space of poetry and music. It is a message of striking universality which transcends the boundaries of time and culture. It is well measured in fact to certain turningpoints in the human experience.